The folio presents an interesting example of a miniature incorporated into the text: the absence of usual framing and the elements of architectural background overlapping the written lines emphasize the unity of text and illustration, less apparent in the case of the full-page miniatures. The horizontal composition allows for a free and unrestrained arrangement of the figures, which, in its turn, contributes to the mood of concentration and tranquillity permeating the scene. The soft, somewhat restrained colouring composed of pink, blue, pale lilac, violet and light green shades enhances this effect.
In presenting the Disciples as listening to their Teacher the artist obviously sought to capture their different reaction to Christ's words, their different manner of listening, thus making a bold, if only tentative attempt at individualization.�

The miniature combines three related scenes in one composition: Joseph of Arimathea before Pilate Asking for the Body of Christ, The Descent from the Cross, and The Entombment. The many expressive devices used serve to accentuate the dramatic significance of the event. The composition is filled with pictorial details; the linear treatment based on the interlacing of curves creates a feeling of nervous anxiety; the figures are elongated to the point of distortion and do not correlate with each other in size; the gestures are intense and full of dynamism, the faces grave and sorrowful. A sense of drama is also conveyed in the colouring of the miniature, with its splashes of bright red and blue turning to purple.
At the same time, in spite of what appears to be an overprofu-sion of figures and details, the composition of the scene is maintained with the help of several vertical and horizontal lines (the Cross, the buildings in the background and the framing) which counterbalance the diagonal lines of the figures.�

The highly expressive figural and decorative treatment and the vigorous movement of the angel's wings impart an air of agitation and disquietude to the scene. The folds of the robes, the texture of the stone, the wings of the angel, even St. Peter's hands and the lances of the soldiers are treated as elements of the ornamental design.�

The stylized treatment of the sea depicted as a conglomeration of spiral-shaped waves was apparently inspired by the art of the Far East. In depicting the faces and gestures the artist managed to capture the fearful anxiety of the characters.�